STUDIO AIR 2015, SEMESTER 1, TUTORS Jin Dai 726716
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Table of Contents 4 Heading 2 4 Heading 3
a.1 Design futuring
B
ird’s Nest Stadium, Beijing, -Jacques
Herzog and Pierre de Meuron
Designed by the Swiss architects-Jacques Herzog and Pierre de Meuron, the Olympic stadium built in 2008 lives up to its aspiration as global landmark. Known for its epical latticework shell, the stadium was known as the Bird’s Nest.
The design started out with the concept of rethought the relationship between solitary human and the crowd, the common and the heroic.
However the structure attests to a great ambition, it is aesthetic at the same time functional. Herzog and de Meuron were chosen for the stadium in Beijing partly on the strength of their design, their ability to emerge high-tech into the design and creating a much more comfortable space as a result. For the Bird’s nest, the architects were clearly striving for something more manifestation. The matrix of criss-crossing columns and beam was conceived as a gargantuan work of public sculpture. From a distance, the contrast in between the bent steel columns and the bulging elliptical form gives the stadium a surreal appearance, as if they were straining to contain the force that are pushing and pulling it. Philosophically, it suggests the tensions beneath the 6
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surface of a society in constant turmoil. Structural wise, the architects and engineers designed a series of cantilevered trusses to support the roof, and shades the seats. The secondary pattern of random crisscrossing beams is woven through the frame, creating the illusion of a big web of rubber bands straining to hold the building in place. Like the Bird’s nest the grass strips hold the whole structure together.
The new concept of separating the beams from the main concrete structure inside the stadium is to enhance its structure stability. The criss-cross’ shell structure’ was meant to act as a frame support, so that if an earthquake shake or break the concrete structures, the frame will stop the roof from collapsing.
Herzog and de Meuron strived to break down the purity of late Modernism; they turn to asymmetrical forms and mysteriously translucent materials. The Visitor’s path is also guided by those iconic structures. From the ground level concourse, they could go down to the lower level seats or climb slender staircase through the matrix of beams to the upper concourse. The criss-crossing columns create an effect that one ascends through the structure.
The project has opened a new technology gate way of approaching modern architecture design in china. Til
these day the ‘Bird’s nest’ Stadium still remains appreciated by people all over the world. It remains as a landmark in Beijing, has
became one of its most famous tourist attraction point. In conclusion the Bird’s nest can be courted as an parametric architecture as it successfully repudiate the look and function of the Bird’s nest, the shell structure on the outside work as a strong support to hold the structures together, prevent it from shaking, moving or collapsing. The design of the outer
FIG.1 CRISSCROSSING STRUCTURE ‘SHELL’ OF ‘BIRD’S NEST’ STADIUM
shell will not be possible with out the use of parametric design techniques and software, from the generation of the exact angle for each column and beam, assembly logic and actual fabrication. The Bird’s nest has achieved both the aesthetical look and functional abilities.
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Z
A11 Pavilion ; Romania -Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan
The ZA11 Pavilion started out as an student base endeavour to design and built at 1:1 scale the flagship pavilion for ZA11 speaking architecture event in Cluj, Romania. The design faced challenges such as specific materials and limited resources. Therefore the design approach was scalable in terms of materials and fabrication techniques. The final product consists
of 746 unique pieces, which formed a free form of curvation, which can also subdivided into hexagonal shapes. Every
panel is connected to anther with a hexagonal shape clip. As hexagon is the highest-sided tessellable regular polygon, these hexagonal shapes allow
The flexibility in the form of the final product. The realization of the design was made possible by the Use of parametric design techniques and software, from the generation of the exact geometry panel to the piece labelling, assembly logic and actual fabrication.
The ZA11 Pavilion has successfully emerged as algorithmic design as it make full use of the tessellable natural of hexagonal shapes and created a design that has so much flexibility for all kinds of space use. It created a comfortable space for
different events pertaining to the Pavilion, such as temporary bookshop, open-air cinema, sleeping in the sun etc. to unfold. Furthermore, it also achieved its initial propose, to attract people from all levels to the place.
a.2 Design computat Computerisation VS Computation.
These two words make up a huge component in our design process these days. Computation as a
tool did not and could not replace the most important part of architectural sincerely which is the creativity of human kind. Architects generate ideas in their
mind and computer software simply help to present them out to others. However having said that
computer aided design are no longer limited to just a form of presentation of digital drawings. Computation had broken the barriers in modelling especially in complex typologies. With the aid of the right program, certain design that weren’t possible to be shown/drawn by the human hand are now buildable. Advanced computation mechanics enable the simulation anisotropic materials and hence the differentiation and diversity of its elastic properties. The scientific natural of computers are superb and analytical. It could provide with extreme precision to calculations, predict the outcome after following a series of specific instructions and commands, fast and accurate. With the aid of such computational techniques, lots of resources could be reduced. The communication
in between project members such as builder and designer facilitates a more holistic way of achieving the realization of a complicated design.
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tion
FIG.2 ‘DIAGRID’ STRUCTURE OF THE GHERKIN
The
G
herkin -Norman Foster FIG.3 THE GHERKIN FACADE CONSTRUCTION
The Gherkin is one example how these computation techniques help to realization seemly impossible design. The building was designed by Norman Foster of Foster and Partners architectural firm. The design concept was the innovation in building and form come from development of new technologies and techniques of building. The form of the building proven to allow maximum amount of air flow around the building. The seemingly expressionist façade was developed through air flow testing. To construct this facade the building used 5,500 pieces of glass panels joint together in diagrid structure. The ‘Diagrid’ system comprised of steel pieces coming together at triangular nodes to support the outer weight of the structure. This design will not be possible without the help of computation. Using of advanced digital techniques the angle of rotation for each steel pieces controlled to the very precision, ensure the general rotation of overall facade. By utilizing the precision of programming the project saved time
and labour needed for structure testing experiences. Computation as generative design is a logic driven processes. It is ruled by logic and science, by mathematics and commands. It is detached from emotions, feelings, and creativities. Kalay described it as “puzzle making rather than problem solving.” [1] The role of designer had changed from the creator to the helper. Yehuda’s concept of design process emphasis on the ability to differentiate the current and new situations and most of all purposefully evaluate the latter. [2] It is without
argument that the architectural practice in the world these days depends on a large extend on this computational programs. However, just as modern technology could not completely replace natural human instincts, computation techniques or software would not replace creation of general inspirations.
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G
uangZhou Opera House -Zaha Hadid
FIG.4
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The Guangzhou Opera house by Zaha Hadid is one of the largest and most complex computer-generated design. The building takes an organic curvature form, the architect utilize computational programs that could provide precise calculations and analysis. The design will not be achievable as architects are unlikely to figure out the meticulous angle in between joints and the curvation of individual constructing geometric which all together provide the building with a smooth flowing organic design. Computational programs
designing. They act as bridges that help the designer to communicate their ideas to others. In this project, Zaha Hadid began with her concept of interaction between architecture and nature. The design takes form of two enormous pebbles that had been washed up on the shore to connive the ideas of erosion, geology and topography. The designer had the design concept in mind, the digital techniques help to realize them.
could not overtake the role of an architect as such programs are unable to fulfill both the rational and creative abilities in
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A.3 Composition/Gene Architecture today is experience a shift from the physical drawing to algorithmic as the method of capturing and communication design concept and ideas.
Furthermore, the parametric modelling technologies make it possible for designer to explore their design and simulate performance, in term of both of physical and experimental. This means that the architects’ design are no longer limited to 2D imagination, construction of complex 3D models to communicate ideas are now possible. The composition and generation are both strategies used by the designer during the design process. Composition is a process of creation, whereby the architect has the form of the concept of design in mind. With the aid of computation techniques such as AutoCAD, they can then present them to other. This Process tend to be more time consuming as the final design has to went through series of test after the design process to ensure its practically. On the hand parametric design is a process of discovering. The architect usually do not have a specify form or design in mind. Experiencing different possibility in the software slowly develops the design. The ‘process-based forces’ process encourages complexity, flexibility, logical thinking, performance control and efficiency. However, it could also mean the engender division from the design objective by being immersed with the forms that are formed by scripting. Neglected the functional use and practicality of design favor the new from of digital aesthetic.
FIG.5 COLUMN AND SECTION SLICING PLANE
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ubdivision Column -Michael Hansmeyer Gwanju Design Biennale 2011
This project involves the conception and design of a new column order based on subdivision processes. The design intent is to explore how subdivision can define and embellish this column order. To maintain the iconic fluting form in classic roman columns parametric inputs are tagged along subdivision process. Countless numbers of permutation are generated through customized algorithms. Culminating in a geometric mesh of 260 million individually, this process generates much architecture aspects, from the overall form to the local surface development, down to the minute textures. It is no doubt the generative process of designing has surpassed our thinking. It is no longer just design the imaginable but endless design alteration possibilities. Computation breaks the limitation of physical constrain, such as 2Dimensional designs as the architect no longer develop forms using pen and paper or 2D drafting program such as AutoCAD, instead the design process can now be ‘shifted’ on to an abstract level. Forms can be generated with the complexity that would not be possible to drawn by hand. The use of such techniques has stretched the possibilities of future design.
FIG.6 SECTION OF COLUMN
eration Different from the usual computation uses in architecture, which usually creates smooth volume with edgeless surfaces. The design maximized the articulation of the surface, creating a volumetric depth whereby light can reflect in a million different directions, blurring the boundaries of architecture. Like the classic roman columns, as user get close to the design, more and more details will be reviewed. This articulation exceeds the threshold of visual perceptions that would not be possible using the traditional means.
The Doric column open a new gateway for design approaching. The idea of focusing on the formulation of process as opposed to actual form is supported by the amazing ability of the computation design. The parametric modeling has proven to have potential to exploit the new design direction and allow more experiencing on the form and details of architecture.
However, the shortcomings of the generative process eventually showed when translating the digital ideas into reality. Hensmeyer faced difficulties in fabricating these columns due to the complexity in subdivisions. The concern was that the technology could not reproduce the design accurately.
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A
rum -Zaha Hadid Venice Biennale 2012
Arum by Zaha Hadid is a project displayed on the Venice Biennale 2012. The theme of the Biennale was ‘common ground’ which refers to the currently architectural culture relied on rich historical continuity of divers ideas instead of talented individual [3] [3]. The designers applied computation with algometric thinking, parametric modeling and script creating. Form finding deriving inspiration from nature and addressing it with structure integrity and materiality explored in process. In relation to form finding through parametric modeling, the designers take adapting natural forms into consideration while designing the structure. The designers adopted the algometric thinking to achieve the shift from composition to generation [4],as they explore shell structures and tensile structures with the idea of integrating the architectural system and the subsystems in order to form complex and
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C
FIG.8 ARUM ARTIST IMPRESSION
Like everything, architecture evolves over time. Architecture today is no longer limited to the functional use of providing shelters for human kind. The further we look into the future, the more we realized that the focal approach of designing in digital has shifted from simple logic computerization to complex methods of computation. Computerisation allowed designers to present their design in various aspects to communicate ideas and assist with further design possibilities. While on the other hand, computation takes design to another step by providing the possibilities of physically unifying the building design and the structural aspect through form generation and material studies. The design approach would be exploratory in the context of computational design that emphasis on construction or generation rather than pre-conception and planning. It is no doubt that computation is a new step forward in new design culture that is based on efficiency, aesthetic of design by opening up more possibilities to find a comparatively desired solution. However despite all the benefits bought by advance technologies, one should not one shall not rely completely on it and forgo the sincerity in architecture design, which is the creativity that are unique to human kind.
L coherent spatial arrangements. This integration of weight shells and tensile structure was one of the many breakthroughs achieved by this project. It had shown that through algorithmic modeling, a simple shell can be transform into a master piece of architecture innovation both structurally and aesthetically. Furthermore, technologies such as parametric Semiology were used to analysis the model’s complex design and realized the prototype in reality.
onclusion
earning outcome
With a polytechnic background I did not have any encounters with parametric designing or algometric thinking. Comprehending the precedence and trying to understand more about architectural computing has been an ‘eye open’ chance for me. The projects opened up my knowledge about scripting, digital design, algorithm and parametric design. It is astounding how digital design can push design to so much further state and carry on progressing. It leads me on a new direction of future designing, by providing more possibilities about designing and realising the design through learning. Design are no longer to draw or illustrate what I already have in mind, but to generate something that may be beyond my imaginations. I am keen to explore this new medium and hope that studio air could assist me for the extension of the boundaries of design.
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A
lgorithmic sketches
Without any piorner knowledge with rhino and grasshopper, these are a few attempts i made trying to explore the forms and shapes that could be created by the software. One of the first things that i learnt in rhino and grasshopper is Lofting. Lofting in rhino or grasshopper could generate similar results. Hoever, when lofting in rhino the surface can not be changed, whereas in grasshopper, there is a function to active and edit the selected curve to allow further reshaping. this makses the amendment of the shape much easier.
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These are some shapes created by mesh reunion. 3 dimensional cell patterns within the geometry through ‘Voronoi 3D’. Altering the density of ponts and deleting various cells created many interesting iteration. Also, attractor points to affect height. Combining the ‘Sbox’ componet, a mesh is set as the base to ‘Morph” function with the box grids as its threshold to project a pattern onto the surface, within the box grids.
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mage Reference:
Cover - Retrived form Lemanoosh parametric design (http://lemanoosh.com) Fig 1 -Bird’s nest stadium steel structure; retrived from Old world steel (http://old.worldsteel. org/?action=galleryphoto&id=187) Background image of Bird Nest- Overall image of Beijing stadium; retrive from Homesthetics. (http://homesthetics.net/the-chinese-nationalstadium-in-beijing-the-birds-nest-stadium/) Background image of Za11 Pavilion- Retrieved from design playground. (http://designplaygrounds. com/deviants/clj02-za11-pavilion/) Fig 2 Diagrid structure of the gherkin- Retrieved from Wordpress (https://andrewlainton. wordpress.com/2011/07/08/fosters-snarks-at-kenshuttleworth-over-who-designed-the-gherkin/) Fig 3 Facade installation & background image -Retrived from the guardian’ (http://www.theguardian. com/artanddesign/architecture-design-blog/2013/ jun/18/gherkin-protected-views-unesco-skyline)
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eference:
1. Kalay, Yehuda E. Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design ( Cambridge, Mass : MIt Press, 2004), pp,6 2. Kalay, Architecture’s New Media, pp, 5 3. Rosenfield, Karissa. “ venice biennale 2012 : Arum preview/Zaha Hadid Architects” 20 Aug 2012 4.Rosenfield, Karissa. “ venice biennale 2012 : Arum preview/Zaha Hadid Architects” 20 Aug 2012
Fig 4 unfold layout of steel struture -Retrived from Archdaily(http://ad009cdnb.archdaily.net/wpcontent/uploads/2011/03/1299011223-unfoldedlayout-of-the-secondary-steel-structure.jpeg) Background image- Retrieved from Nytimes (http://www.nytimes.com/2011/07/06/arts/ design/guangzhou-opera-house-designedby-zaha-hadid-review.html?_r=0) Fig 5,6 and background image- Retrieved from Michael-hansmeyer offical website (http://www. michael-hansmeyer.com/projects/columns.html) Fig 8 Artist impression of Arum - Retrieved from Dezeen (http://www.dezeen.com/2012/08/18/ arum-by-zaha-hadid-architects-at-venicearchitecture-biennale-2012-2/) Background image-Retrieved from (http:// www.archdaily.com/269061/venicebiennale-2012-arum-zaha-hadid/)
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